New York Festival of Song Photo by Claudio Papapietro

Home , Apollo (ballet), Eliseo Grenet, Moises Simons, Move It Like This, Para Tu Amor, Robert White (tenor)

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The Juilliard School and New York Festival of Song present Cubans in Paris

Wednesday, January 15, 2020, at 7:30pm Peter Jay Sharp Theater

Chea Young Kang and Jaylyn Simmons, Sopranos Olivia Cosío, Mezzo-Soprano Ian Matthew Castro, César Andrés Parreño, and Santiago Pizarro, Tenors Aaron Keeney and Kyle Miller, Baritones

Steven Blier, Pianist, Arranger, and Artistic Director of NYFOS Mary Birnbaum, Stage Director Adam Cates, Choreographer Leonardo Granados, Percussion Bénédicte Jourdois, French Language Preparation Shawn Chang, Assistant Pianist

I: POPULAR SONG

JOSÉ WHITE La bella cubana (1905) (1836-1918) César Andrés Parreño and Kyle Miller

ELISEO GRENET Lamento esclavo (1932) (1893-1950) Jaylyn Simmons

ERNESTO LECUONA Canción Karabalí (1933) (1895-1963) Santiago Pizarro

LUIS CASAS ROMERO ¡Si llego a besarte! (1922) (1882-1950) César Andrés Parreño and Olivia Cosío

Program continues

Juilliard’s Ellen and James S. Marcus Institute for Vocal Arts was established in 2010 by the generous support of Ellen and James S. Marcus.

Additional support for this performance was provided, in part, by the Muriel Gluck Production Fund.

II: CUBAN ZARZUELA

GRENET Mi vida es cantar from La virgen morena (1933) Aaron Keeney

LECUONA Yo viví soñando en un cuartico from Rosa la China (1932) Ian Matthew Castro and Jaylyn Simmons

JOSÉ MAURI Perdida para siempre la esperanza (Aria de Matilde) (1855-1937) from La esclava (1918) Chea Young Kang

III: ART SONG

ALEJANDRO GARCÍA Bito Manué (1928) CATURLA Santiago Pizarro and Kyle Miller (1906-40)

EMILIO GRENET Tú no sabe inglé (1932) (1901-41) César Andrés Parreño

CATURLA Mari-Sabel (1928) Olivia Cosío

CATURLA Juego santo (1928) Ensemble

Intermission

Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium.

IV: THE PARIS OPERETTA STAGE: Excerpts from Toi c’est moi by Moisés Simons (1934)

MOISÉS SIMONS Toi c’est moi (1889-1945) Santiago Pizarro and Kyle Miller

C’est ça la vie Olivia Cosío

Duo du rossignol Santiago Pizarro and Chea Young Kang

Entre copains Santiago Pizarro and Kyle Miller

V: AFTER HOURS

SINDO GARAY Guarina (early 1900s) (1867-1968) Ian Matthew Castro and Aaron Keeney

SIMONS Palmira (1928) Jaylyn Simmons and Gentlemen

JORGE ANCKERMANN Flor de Yumurí (1936) (1877-1941) César Andrés Parreño

LECUONA Como el arrullo de palmas (1938) Ian Matthew Castro and Aaron Keeney

María la O (1930) Chea Young Kang

SIMONS La negra quirina (1933) Olivia Cosío, Kyle Miller, and Ensemble

Performance time: approximately 2 hours and 15 minutes, including an intermission

3 About the Program by Steven Blier

Cuban music seduces us with its marriage of melodic elegance and rhythmic exuberance. But these songs were born in a country plagued with racial animosity and fear. Music became an arena where people of all colors and cultures could build bridges. White Cuban artists like Alejandro García Caturla and Alejo Carpentier spearheaded the Afrocubanismo movement, bringing the primal force of black culture into classical music. Meanwhile, Afro-Cubans like Sindo Garay and Eliseo Grenet conquered the world with their cosmopolitan songs, gently tempering the African edge for international audiences.

Paris became one of the most glamorous of those locales. In the late 1920s and early 1930s, many Cuban composers and performers flocked to the City of Light, where they found a warm welcome. Paris was primed for the Cuban invasion. The notorious premiere of Stravinsky’s Rite of Spring in 1913 at the Théâtre des Champs-Elysées had opened the floodgates for an obsession with African and Asian art—and, by extension, all things seen as exotic, including Missouri-born Josephine Baker and her Revue nègre.

In the early decades of the 20th century, Havana was a thriving city, filled with American tourists looking for a good time and legal alcohol during Prohibition. But in the late 1920s, Cuba’s economy went into decline, with many middle-class Cubans sliding into poverty. Musicians were hit hard by the downturn. Suddenly it was difficult to find work and when they did land a job in a club, their pay was just two pesos a night. The country was under the dictatorship of Machado, one of Cuba’s most repressive and violent rulers. More and more musicians joined the underground movement trying to topple him, and the Machadistas retaliated. Nightclubs were often the scenes of shootouts between revolutionaries (many of them players in the dance band) and Machado’s paramilitaries.

The Cuban novelist, critic, and jazz historian Alejo Carpentier was among the first important artists to go to Paris in the late ’20s. His outspoken opposition to Machado had landed him in jail, and upon his release, he fled to Europe. Carpentier was keenly aware of the adventurousness of Parisian audiences, seeing opportunities for his compatriot painters and musicians. They flew to his side.

At home, the conservative Cuban public had not been comfortable with the new wave of Afrocubanismo that Carpentier promoted. Parisians, on the other hand, were mad for it. In 1928 Carpentier persuaded his old law school friend, composer Alejandro Caturla, to join him by negotiating a commission for a couple of art songs in an upcoming concert. Suddenly Caturla had entrée into the top artistic echelons in Paris, hobnobbing with Sergei Prokofiev and Louis Aragon, and studying composition with the leading music teacher of the era, Nadia Boulanger. Fired by his sudden immersion in French culture, Caturla fulfilled the commission in two weeks. The songs premiered at the Salle Gaveau with soprano Lydia Rivera and

Ernesto Lecuona at the piano. The superlative reviews clinched Caturla’s career. He and Carpentier created something unique: art songs that evoke Havana’s street culture and Afro-Cuban ritual.

Soon other composers found their way to Paris. Eliseo Grenet, a staunch opponent of Machado, escaped to Europe to conduct the premiere of his operetta La virgen morena. He went on to be a part owner of La Cueva, a hugely successful nightclub on the street known as Rue des cubains (Cuban Street).

The legendary Ernesto Lecuona also made Paris one of his hubs. For this gay musician (and many others), Paris must have been a refuge from the homophobia and machismo of his native Cuba. The sheer number and quality of Lecuona’s songs—including “Malagueña,” “Maria la O,” and “Siboney”—would have been enough to propel him into international fame. But he allied his musical talents with a keen sense of business and marketing. The result was the kind of sustained name-recognition and financial success that most composers only dream of.

For Moisés Simons, Paris became a second home in the 1930s. Unlike most of his colleagues, he was not merely a star of the nightclubs but also a success in French musical theater. In collaboration with librettist Henri Duvernois, he wrote an operetta, Toi C’est Moi, that enjoyed a triumphant run in the 1934-35 season. Like Lecuona, Simons had been a child prodigy, and he hit pay dirt with his 1928 hit tune “El manisero,” known in America as “The Peanut Vendor.” Simons is an artist I treasure. His “Palmira” and “La negra quirina” remain among my very favorite of all Latin American songs. A musical sorcerer, Simons can conjure bar after bar of sexy magic using no more than four or five chords.

Going to Paris must have been a dream come true for Indo-Cuban Sindo Garay. In 1928, he enjoyed three months as the darling of the French public. It was a heady triumph for this native of Santiago. Uneducated as a child, he taught himself to read at age 16 by copying store signs in his hometown. He was similarly self-taught as a musician and never learned to read music— others had to notate his songs for publication. But Garay had a special gift for expanding the typical Cuban harmonic progressions with a sophisticated palette of chords. And he was a survivor. At the end of Garay’s long life, he commemorated his “100th birthday” with lucrative celebrations from the time he turned 99 until his death at 101.

Simons, Lecuona, Grenet, Garay, and Caturla were among the many musicians taking a champagne-infused refuge from their embattled homeland. However, they were not the first Cuban composers to immigrate to France. That distinction goes to José White, born in 1836 to a Spanish father and an Afro-Cuban mother. By his teens, he had learned to play 16 instruments, and at age 18, he gave a violin recital accompanied by American

5 About the Program by Steven Blier (continued)

piano virtuoso Louis Moreau Gottschalk in Havana. Gottschalk facilitated White’s trip to Paris, where he enrolled at the Paris Conservatoire at age 19. During the 16 years of White’s first stay (1855-71), his music attracted the admiration of the elderly Gioacchino Rossini. White returned to Havana for a spell, but came back to Paris in 1888 where he became a renowned teacher. Among his students were composer George Enescu and renowned violinist Jacques Thibaud. White’s song “La bella cubana” has attained the status of a classic—a kind of sensual, Antillean “Beautiful Dreamer.”

Cuban culture is dance culture, and we hear the rhythms of tango, rumba, conga, and habanera in almost every piece, whether written for the concert hall, the theater, the street band, or the nightclub. This is the radiant music of survival, the triumphant synthesis of many cultures, an ambassador nearly impossible to resist.

This essay is available in Spanish, translated by César Andrés Parreño, at juilliard.edu/nyfos.

Este ensayo está disponible en español traducido por César Andrés Parreño en el sitio web juilliard.edu/nyfos.

6 Texts and Translations (translations by Steven Blier; special thanks to Dorothy Potter Snyder)

La bella cubana The Beautiful Cuban Girl Music: José White Text: José White

¡Ay! Dulce amanecer Ah, the sweet dawn Y resplandor de sol And the radiance of the sun Al mirar la mujer When I see the woman Que inspiró mi canción. Who inspired my song.

Bella cubana, fuiste rayo de luz Beautiful Cuban girl, you were a ray of light Que en la negrura de mis noches That gives me inspiration. La inspiración tú me das. Through the darkness of my nights Mi canción eres tú. You are my song.

Bella cubana, mi canción para ti Beautiful Cuban girl—my song for you La inspiración siempre tu me darás. Shall always come from your inspiration. Mujer, tú serás la que adoraré, Woman—you will be the one I adore, Para ti es mi canción My song is for you.

Lamento esclavo Slave’s Lament Music: Eliso Grenet Text: Aurelio G. Riancho

Esclava soy, negra nací. I am a slave, I was born a black woman, Negro es mi color, Black is my color, Y negra es mi suerte. And black is my fate. Pobre de mí sufriendo voy Ah, poor me! I’ll continue to suffer Este cruel dolor This cruel pain Ay, hasta la muerte. Ah, until death.

Soy Lucumi cautiva, I am a captive Lucumí, Sin la libertad no vivo. Without freedom, I am not alive. ¡Que los negros libres un día serán! One day, black people will be free! ¡Ay! Mi negro pancho vamos a bailar Ah, let us go dancing, my sweet black man, Que los negros libres serán. One day, black people will be free!

Canción Karabalí* Karabalí* Song Music: Ernesto Lecuona Text: Ernesto Lecuona

Karabalí, no hay un corazón Karabalí, there is no heart Que llegue junto a ti, That finds its way to you Que llegue junto a ti. That finds its way to you.

7 Texts and Translations (continued)

Karabalí, tu consuelo es, Karabalí, your only consolation Solamente morir, Is to die, Solamente morir. Is to die.

Karabalí, no te alegra el bongó, Karabli, the bongo does not cheer you, Karabalí, un sollozo es tu voz. Karabli, your voice is a sob. Karabalí, tu esperanza es Karabalí, your only hope Solamente morir. Is to die.

*Karabalí—usually spelled with a “c”—refers to the black people brought to Cuba from Carabal on the Guinean coast of Africa.

¡Si llego a besarte! If I Get to Kiss You Music: Luis Casas Romero Text: Luis Casas Romero

Dicen que tus caricias They say that your caresses No han de ser mías... Can never be mine, Que en mis amantes brazos That my loving arms No he de estrecharte. Will never hold you tight.

Y yo he soñado anoche And I have dreamt at night Que me querías That you love me Y aunque despues me muera And even if I should die afterwards Quiero besarte. I still want to kiss you.

Dame un beso y olvida Give me a kiss and forget Que me lo has dado, That you gave it to me, Yo te ofrezco la vida I’ll lay down my life for you Si me la pides. If you but ask.

Que si llego a besarte For if I finally get to kiss you Como he soñado, As I have in my dreams, Ha de ser imposible It would be impossible Que tú me olvides. For you to forget me.

Mi vida es cantar From La virgen morena I Live to Sing From La virgen morena Music: Eliseo Grenet Text: Aurelio G. Riancho

Yo cantaré que mi vida es cantar I shall sing, for I live to sing, Y mis penas de amores llorar. And to mourn my lovesick sorrows. Yo cantaré como canta el zorzal I shall sing as the thrush sings Que se oye en los palmares trinar. Whose warble can be heard in the palm groves.

Y ahora el amor me llama And now love calls to me, Y he de cantar mejor— And I must sing my best—

Yo cantaré que mi vida es cantar I shall sing, for I live to sing, Y mis penas de amores llorar. And to mourn my lovesick sorrows.

¡Oh! Mujer que yo adoro en silencio Oh woman whom I adore in silence Y que fiel reverencio And whom I venerate faithfully, Yo me muero por ti, I am dying for you, Porque tú de mi vida serás muy amada— Because it is you I love best in this life— ¡Oh! Que dulce es morir así Oh, how sweet it is to die like this, Si se muere de amor. If one is dying from love!

Yo viví soñando en un cuartico I Lived Dreaming of a Little Room From Rosa la China From Rosa la China Music: Ernesto Lecuona Text: Gustavo Sánchez Galarraga

Ay, quién pudiera morirse Ah, it would be better to die Por no sufrir como sufro. Than to suffer as I do. Rosa la China no es mala, Rosa la China is not an evil woman— ¡Por mi madre te lo juro! I swear on my mother’s grave!

Si no dijeras mentiras If you were not telling lies, Ni engañaran tus palabras And your words were not filled with deception… Yo por tu amor te daria I would give my entire life and soul La vida entera y el alma. For your love.

¿No estás jugando? You aren’t joking?

¡No sé mentir! I cannot lie!

¿Tu me querrías? You would love me?

¡Con frenesí! Madly!

Oye, José de mi alma, Listen, my beloved José, Lo que yo supe esconder, To what I kept hidden… Mientras vivía en silencio, While I was living in silence, Soñando con tu querer. Dreaming of your love.

Escucho mi vida…dime. I am listening my love…tell me.

Yo viví soñando en un cuartico I lived dreaming of a little room, Un cuartico que la luz bañara A little room that would be bathed in light

9 Texts and Translations (continued)

Donde yo pudiera ser buena Where I could be good Y donde me amparara And where your love Tu amor con su fe. Would shelter me with its faith.

Alfin te veré Finally I shall see you En tu cuartico que tú soñaste In the little room you dreamed of, Tú que fuiste siempre mi ilusión. You who were always my heart’s desire. Siento que al final habrá dicha I feel that finally good fortune will be ours, Y será para ti, mi bien, todo mi amor. And all of my love will be yours, my dearest.

Todo será totalmente sonrisas alegres Everything will be joyful smiles, Y jamás habrá una sombra de triste dolor. And there will never be a shadow of painful sadness. Alegrarán nuestra horas caricias y besos Caresses and kisses will brighten our hours, Y arderá por siempre nuestro amor. And our love will burn forever.

Tú en el cuartico que soñaste You—in the room you dreamed of, Tú que fuiste siempre mi pasión, You—who were always the apple of my eye, Donde gozaremos felices Where we shall live in happiness and joy ¡Y vivir para tu amor! And live for your love!.

Perdida para siempre la esperanza Matilde’s Aria From The Slave (Aria de Matilde) From La esclava Music: José Mauri Text: Tomás Julia

Perdida para siempre la esperanza Since all hope is now lost to me forever, Otra vez vuelvo a ti, mi dulce hogar, Once again I turn to you, my sweet home Sabiendo que las fúlgidas quimeras Aware that the resplendent illusions De amor no volverán. Of love will not return.

Del sueño divino en que se embriaga From this divine, intoxicating dream No quiere despertar mi corazón My heart doesn’t wish to awaken, Y en la sombra infinita de la muerte And in the unending shadow of death Se ocultará mi amor. My love will hide itself away.

Palmeras que alegraron con su arrullo Palm trees whose lullaby cheered Las horas de mi plácida niñez, The hours of my placid childhood— Oyendo siempre vuestro dulce canto Always hearing your sweet song Tranquila dormiré. I will sleep peacefully.

Nunca puedo olvidar el sacrificio I can never forget the sacrifice Que supo hacer en su pasión por mí Which he made because of his passion for me, E indigna de ser suya en mi deshonra And unworthy to be his because of my dishonor, ¡Por él sabré morir! I will die for him!

Bito manué Music: Alejandro García Caturla Text: Nicolas Guillén

Bito Manué tu no sab ’inglé Bito Manué, you don’t know English, Con tanto inglé que tu sabía Bito Manué With all the English that you knew Bito Manué, Con tanto inglé no sabe ahora With all your English you don’t even know how desí yé. to say “yes.” La ’mericana te bu’ca The American girl goes for you Y tú le tiene que huí And you have to run away; Tu inglé era de etrai guan, Your English was like “strike one,” De etrai guan y guan tu trí. Like “strike one” and “one-two-three.”

Bito Manué tu no sab’ inglé Bito Manué, you don’t know English, Con tanto inglé que tu sabía Bito Manué With all the English you knew Bito Manué No sabe ahora desi yé, yea, yea You can’t even say “yes” or “yeah, yeah” Bito Manué ea ea Bito Manué Bito Manué, yeah yeah, Bito Manué No te namore ma nunca Bito Manué Don’t ever fall in love again Bito Manué Si no sab’ inglé. If you don’t know English.

Tú no sabe inglé Music: Emilio Grenet Text: Nicolas Guillén

11 Texts and Translations (continued)

Mari-Sabel Music: Alejandro García Caturla Text: Alejo Carpentier

El solar se ha dormido The old mansion has fallen asleep bajo su manta de tejas. Under its blanket of tiles. Sueño, calor y silencio... Dream, heat, and silence… En el patio una camisa ñáñiga In the courtyard a man’s ceremonial ñañiga shirt cuelga como un estandarte vencido. Hangs like a vanquished banner. Por la calle desierta Through the deserted street cruza la sombra de un aura The shadow of an halo crosses ebria de luz... Drunk with light.

“¡Maní, maní... !” “Peanuts, peanuts!” Un pregón que se pierde A street-vendor’s cry that gets lost por la lejanía... In the distance.

“¡Aé, aéee... !” “A-ee! A-ee! “¡Maní, maní... !” Peanuts, peanuts!”

Crujió la puerta azul The blue door creaked y en la quietud del mediodía And in the stillness of midday apareció la mulata mari-sabel There appeared the mulatta mari-sabel haciendo danzar su chal rojo Making her red shawl dance como un fuego de bengala. Like Bengal sparklers.

Juego santo Sacred Brotherhood Music: Alejandro García Caturla Text: Alejo Carpentier

Ecón y bongó Ritual bell and bongó, Atabal de timbal Atabal and timbal drums Ecón y bongo Ritual bell and bongó, Timbal de arrabal. Drum from the slum.

Rumba en tumba, Rumba to a tumba beat— Tambor de cajón A drum made from a drawer ¡Bogue lé zumba! Come on, hit it!

Por calles de Regla Through the streets of Regla Lleva la comparsa The parade moves along Juego santo The sacred fellowship En honor d´Ecoriofó. In honor of Ecoriofó.

Farola en alto, Lamp held high, Anilla de oro Golden ring, Chancleta ligera, Light slippers, Pañuelo bermejo... Vermillion handkerchief…

Ataron el chivo, They tied up the goat, Mataron el gallo, They killed the rooster, Azaron cangrejo, They baked crabs, Sacaron el diablo... They brought out the devil…

¡Baila congo, Dance congó, Ya suena el empegó! The call to march rings out! Son toques de allá, They are beats from afar, Los cantos de Eribó. The songs of Eribó.

Ecón y bongó, Ritual bell and bongó, atabal de timbal, Atabal and timbal drums rumba en tumba, Ritual bell and bongó, timbal de arrabal. Drum from the slum.

Toi c’est moi You—Are Me! Music: Moisés Simons Text: Henri Duvernois

1. En vrais amis qui s’aiment beaucoup 1. Like true friends who love each other a lot Nous nous partageons tout… We share everything… Cravat’s. Cigarett’s. Ties. Cigarettes. Béguins ou galette. Our squeeze or our cash. Et nous n’avons qu’un And every franc we have Franc commun. Car: Belongs to us both. For: Toi, c’est moi, You—are me! Moi, c’est toi! I—am you! Tout c’qu’on a, on se l’prête, on le change, Everything we have we lend one another, we swap, Il n’est pas de bonheur sans mélange, There is no happiness without such mingling, Puisque Since Toi, c’est moi, You—are me, Moi, c’est toi! I—am you! Nous sommes comme les deux doigts de la main We are like two fingers on the same hand, Deux bons copains! Two good buddies!

2. Nous partageons au même moment 2. In the same instant we share Les mêmes sentiments. The same feelings. —Quand j’ai un malheur —When I have a misfortune —Aussitôt je pleur’. —Instantly I am in tears. —Mais dès que je ris —But the moment I laugh

13 Texts and Translations (continued)

—Je souris! Car: —I smile! For: Toi, c’est moi, You—are me! Moi, c’est toi! I—am you! C’que tu sens, je le sens malgré moi! Whatever you feel, I feel it too in spite of myself! —Quand je bois —When I drink… —j’ai la gueule de bois! —I have a hangover! Puisque Since Toi, c’est moi, You—are me! Moi, c’est toi! I—am you! Nous formons, d’puis des mois et mois Over the course of months and months Deux frères siamois! We’ve become like Siamese twins!

3. Nous ne pouvons, il faut l’déclarer, 3. We cannot ever—it must be stated— Jamais nous séparer! Part from one another! Comme un vrai toutou Like a little lapdog J’t’accompagn’ partout I accompany you everywhere— En train, en auto, au piano! Car: On the train, in a car, at the piano! For: Toi, c’est moi, You—are me! Moi, c’est toi! I—am you! Quand tu chant’s sitôt je chante aussi, When you sing, I too burst into song L’harmonie dans la vie nous unit. Harmony unites us in our life. Puisque For Toi, c’est moi, You—are me! Moi, c’est toi! I—am you! Nous deux coeurs chant’nt en choeur leur Our two hearts chorus their song, chanson, Ils sont à l’unisson! And they sing in unison!

C’est ça la vie That’s Life Music: Moisés Simons Text: Henri Duvernois

C’est ça la vie, That’s life, C’est ça l’amour! That’s love! Voilà les p’tits embarras Those are the awkward little situations Où l’on se fourr’. We get mixed up in. On aime un soir, One evening you’re in love, On s’quitte un jour, The next day you split up, C’est ça la vie, That’s life, C’est ça l’amour! That’s love!

Carmencita la Gitana Carmencita the Gypsy girl Aimait le bel Escamillo, Loved the handsome Escamillo,

Ell’ se donna She pledged herself Pour toujours au torero. To the torero forever. Mais tous les homm’s sont comme ça, But all men are the same— De ses baisers il se lassa, He grew tired of her kisses, Il la trompa, He betrayed her, Ell’ lui reprocha, She scolded him, Il la plaqua! He dumped her!

C’est ça la vie… That’s life…

Carmencita la Gitana Carmencita the Gypsy girl Retrouva son toreador, Found her toreador again. Ell’ pardona She forgave him Voulant qu’il la réador’, Hoping he’d fall for her again. Mais tous les homm’s sont comme ça But all men are the same, Escamillo la retrompa He cheated on her again, La Gitana The Gypsy girl Prit sa navaja Took out her knife Et le tua! And killed him!

C’est ça la vie… That’s life…

Duo du rossignol Nightingale Duet Music: Moisés Simons Text: Henri Duvernois

—Pourquoi se bercer de phrases Why comfort yourself with mere phrases Quand le soir est si grisant, When the evening is so intoxicating, Et que nos coeurs en extase And our hearts in ecstasy Se comprenn’nt en se taisant. Understand each other without speaking? Par cette nuit si troublante In this night, so seductive, Tous les mots semblent bien lourds, All words seem cumbersome, Quand le rossignol nous chante When the nightingale is singing us Son plus beau refrain d’amour. Its prettiest song of love.

—Sa voix dit tant de choses —Its voice says so many things, Que son charme s’impose. Brought home all the more by his charm. Elle chante, elle traduit It sings, it translates Le mystère da la nuit. The mystery of the night. Divin couplet, Divine couplet, Romance sans paroles, Song without words, Combien tu plais, How pleasing you are, Doux chant du rossignol. Sweet caroling of the nightingale. C’est toi qui seras toujours You will always be Le plus joli des chants d’amour. The prettiest of all love songs.

15 Texts and Translations (continued)

Entre copains Among Friends Music: Moisés Simons Text: Henri Duvernois

Pat: Tu n'es qu'un salaud! Pat: You’re just a bastard! Bob: Ne crie pas si haut— Bob: Don’t scream so loud— P: Un vrai saligaud— P: A real dirtbag— B: J'attendais ce mot… B: I knew you were going to say that… P: M'avoir fait jouer— P: You made me play— B: Tu vas t'enrouer— B: You’re going to shout yourself hoarse— P: Ce rôle épuisant— P: That exhausting part— B: C'était amusant! B: It was amusing! P: J'en pouvais mourir! C: I could have died! B: Quoi, c'était pour rir'! B: Come on, it was all in fun! P: Je n'ris pas, monsieur… C: I am not laughing, sir… B: C'que t'es pointilleux… B: It’s because you’re so fussy… P: Profiter ainsi C: To use a good friend D'un si bon ami Like that C'est une vach'rie! Is a dirty trick! B: C'est un’ petit’ plaisant'rie! B: It’s just a little joke! P: Entre copains, ça n'se fait pas; P: Buddies don’t do that to each other; On n'agit pas d'cett' façon-là! You just don’t act like that! C'est pas permis, c'est pas admis It’s not permitted, it’s not allowed Entre amis, non non non! Among friends—no, no no! B: Bon bon bon— B: Okay, okay, okay— C'est entendu, I get it, J'n'aurai pas dû, I shouldn’t have, Pardonne moi, Forgive me, N'en parlons plus. Let’s drop it. Oublions tout, faisons la paix. Forget it, let’s make peace. P: Ça jamais! Quand pour toi, j'ai tout fait… P: Never! After I’ve done everything for you… B: Ça n'est pas vrai! B: That is NOT true! P: Mais oui, c'est vrai! P: Oh yes it is! B: C'est assez! B: Enough! P: Non, je n'me tairai pas! P: No, I won’t stay quiet! B: Tra la la la B: La-la-la… P: N'chant’ pas comme ça! P: Don’t sing like that! B: Ah! Je t'en prie ne m'engueul' pas! B: Ah—I beg of you, don’t scream at me! P: Entre copains ça n'se fait pas… P: Friends don’t do that… Ensemble: Ballot, crétin, idiot, BOTH: Bonehead, cretin, idiot, salaud, saligaud! Bastard, dirtbag! P: On peut profiter d'ma bonté. P: Go ahead and take advantage of my good- Usurper mon identité. ness, usurp my identity. Oui, mais s'fout' du monde à c'point là— Yeah, but to give the world the finger like Ça s'fait pas. that—that’s not okay. B: On peut vivr' comme un piqu' assiett' B: Go ahead and live like a freeloader,

Tromper ses amis en cachett' Betray your friends behind their backs, Mais les taper à tour de bras. But to sponge off them non-stop— Ça s'fait pas! That’s not okay! P: Quand pour toi j'ai tout fait! P: When I did everything for you— B: Ça n'est pas vrai B: That’s not true— P: Mais oui, ç'est vrai P: Yes, it is! B: C'est assez! B: That’s enough! P: Non, je n'me tairai pas P: No, I’m not going to shut up— B: Tra la la la B: La-la-la P: Ne chant' pas comme ça! P: Don’t sing like that! B: Ah! Je t'en prie ne m'engueul’ pas! B: Ah—I beg of you, don’t scream at me! P: Entre copains ça n'se fait pas… P: Friends don’t do that… Ensemble: ballot! Crétin! Idiot! Salaud! BOTH: Bonehead! Cretin! Idiot! Bastard! Dirtbag! Saligaud! Imbécile honteux! Vieux fou dangereux! Shameful imbecile! Dangerous old fool! C'est ignominieux! That’s disgraceful! C'est scandaleux! That’s scandalous! C'est...honteux! That’s…shameful!

Guarina Guarina Music: Sindo Garay Text: Sindo Garay

Lleva en sus alas el raudo viento In its wings the swift wind carries el dulce acento de mi canción. The sweet accent of my song. Es mi Guarina, mi amor, mi vida, It is my Guarina, my love, my life, la preferida del corazón. The favorite of my heart. Más que en el alma la pura estrella More beautiful are you than the pure star eres más bella, niña feliz In my soul, oh fortunate child, nido de amores, la más hermosa, A love nest, the prettiest, la primorosa flor del pensil. The most exquisite flower in a lovely garden.

Palmira Music: Moisés Simons Text: Moisés Simons

¿Quieren saber quien soy? ¡Palmira! You want to know who I am? Palmira! Todo el mundo por mí suspira. The whole world sighs for me. Cuando algún chiquito lindo me mira When some good-looking guy eyes me, Loco de placer me dice “mi vida.” Crazed with desire he says to me, “My love!” Mi novio siempre fue rumbero My boyfriend was always a party animal, De todos el mejor sonero. And he’s the best singer of “son” around. Goza si yo le digo cuando está majadero He loves it when I tell him, when he’s getting fresh, “¡Tírame el escaparate, tírame el perchero!” “Baby, throw me around, give me everything you got!”

17 Texts and Translations (continued)

Siempre yo presumí de mi cintura I have always shown off my waist, Y si la muevo así, ¡ay! Que locura. And if I move it like this—wow, it’s a sensation! Cuando bailo la rumba When I dance the rumba El público me grita, The public cheers like crazy: “¡Voy pa’ ti mamá! “You go girl! ¡Alaba’o sea Dio’! Praise the Lord! ¡Como bailas tú al son del bongó!” How you can dance to the sound of the bongó!” Y si disparo un son con mi sandunga And if I shoot off a “son” using all my charm, Chillan a toda voz, ¡negra te zumba! They all scream at the top of their lungs, “Girl, you are cooking!”

Hay que verme arrollando con mi bata rosada You should see me out strutting in my long pink dress, Arremangada y chancleteando. Picking up my skirt and dancing in my slippers.

Guapa siempre será Palmira Palmira will always be good-looking Porque el mundo le dio su encanto. Because the world bestowed its charm on her. Cuando alguna virulilla me mira When some tramp looks at me Revirándole los ojos la espanto. I scare her by rolling my eyes. En la bachata soy la Parda At a party I am the big mulatta, Que se impone por su dulzura. Who wins the day with her sweetness. Gozo cuando una sata sufre con mi hermosura I enjoy it when a two-bit flirt suffers on account of my beauty Porqué sabe que yo arrollo con mi sabrosura. Because she knows that I conquer with my deliciousness.

Fuego para el amor me dio natura. Nature gave me love’s fire. Cuando digo a querer—¡ay que locura! When I say, “Let’s love!”—oh, what a sensation! Pues si doy mi cariño Since when I give my love Oigo que todos dicen I can hear everyone saying: ¡Baja, Yemayá! “Descend, Yemayá, goddess of the sea! ¡Alaba’o sea Dio’! Praise the Lord! ¡Mi mulata está de viyiviyó!” My mulatta is wearing satin!” Soy en un titingo mala “comía!” In a rough argument I am a hellcat— No ando creyendo yo ni en policía— And I don’t go around thinking the police are any use! Rumbeando y peleando I go partying and I go fighting, Estoy que ni pintada The life of the party, Arremangada y chancleteando. Always picking up my skirt and dancing in my slippers.

Palmira, me llamo yo Palmira is my name, Y tengo viyiviyó. And I am always dressed in satin.

Flor de Yumurí The Flower of Yumurí Music: Jorge Anckermann Text: Gustavo Sánchez Galarraga

Flor de Yucayo la bella Beautiful flower of Yucayo, Al nacer me ha copiado At birth Yumurí took my image Yumurí en su cristal. Into his crystal surface. Es ese río el espejo That river is the mirror Donde ansío mi rostro Where I long to see my face Por siempre reflejar. Reflected forever.

Ven, oh mi amor a la orilla Come, o my love, to the banks De este río de oro Of this golden river Con tus flechas y con tu caney. With your arrows and your little hut. Ven y verás como el río Come and you’ll see how the river Con sus aguas solloza Weeps with its waters Las quejas del Siboney. The lament of the Siboney.

¡Ven ya que ardiente te espera Come quickly, for the flower of your Yumurí La flor de tu Yumurí! Waits ardently for you!

Como el arrullo de palmas Like the Murmuring Palms Music: Ernesto Lecuona Text: Ernesto Lecuona

Como el arrullo de palmas en la llanura, Like the murmuring of the palms in the prairie, Como el trinar de sinsonte en la espesura, Like the warbling of the mockingbirds in the thicket, Como del río apacible el lírico rumor, Like the lyrical murmur of the peaceful river, Como el azul de mi cielo—así es mi amor. Like the blue of the heavens, such is my love.

Eres tú la mujer que reina en mi corazón, You are the woman who reigns over my heart, Dulce bien que soñó mi apasionada ilusión, The sweet one dreamed up in my passionate fantasy, Eres tú flor carnal de mi jardín ideal, The sensual flower in my perfect garden, Trigueña y hermosa cual musa Chestnut-haired and lovely as the muse Gentil de cálida tierra tropical. Of a warm tropical earth. Tu mirar soñador es dulce y triste, mi bien; Your dreamy gaze is sweet and sad, my love, Es tu andar tentador un armonioso vaivén, And your tantalizing walk is a harmonious sway, Y tu piel dorada al sol es tersa y sutil. And your golden skin is smooth and fine in the sunlight.

Mujer de amor sensual, Woman of sensual love— Mi pasión es rumor de un palmar. My passion is like the whispering palm-grove.

19 Texts and Translations (continued)

María la O Music: Ernesto Lecuona Text: Gustavo Sánchez Galarraga

Mulata infeliz, tu vida acabó, Unhappy mulatta, your life is over. De risa y guarachas se ha roto el bongó, The drum of laughter and dancing has been broken, Que oías ayer temblando de amor That sound you heard yesterday, trembling with love Y con ilusión junto a un hombre cruel. And infatuation by the side of a heartless man. Su amor ya se fue de su corazón Her love has left her heart Que hoy ya le aborrece porque su pasión That today feels only loathing for him, because her passion— Que hirió su traición ya tan sólo es Wounded by his betrayal—has turned into a single desire: Sed de verle al fin tendido a sus pies. A thirst to see him stretched out senseless at her feet. María la O, ya no más cantar, María la O, sing no more, María la O, hora es de llorar María la O, it is time to weep, Y de recordar el tiempo feliz And to remember the fleeting, happy moments De tus besos que fugaz ya voló. Of your kisses which have flown away.

María la O, todo se acabó, María la O, it’s all over, María la O, tu amor ya se fue María la O, your love has gone away, Y jamás él volverá And he will never return, María la O, sueña en morir. María la O, dream of dying.

La negra quirina Quirina Is Hungry Music: Moisés Simons Text: Moisés Simons

—Comer quiero yo, —I want to eat, Comer quiero yo, I want to eat, Tasajito con mojo crudo Some dried beef with hot salsa Yuca y quimbobó, Some yucca and some okra Y en el manigual And in the jungle Después de almorzar After we have lunch A orillitas del Almendares By the shore of the Almendares Juntos navegar. Together we’ll take a sail.

—También tengo yo —I also feel the urge Ganas de comer, To eat Picadillo y arroz con huevo frito Minced meat and rice with a fried egg Y lager “ber.” And drink some lager beer.

Te voy a llevar, I’m going to take you, Te voy a llevar, I’m going to take you, A orillitas del Almendares china To the shores of the Almendares, girl, Pa’lmorzar. To have a little lunch.

—Por la tarde mi conguito —In the afternoon, my sweet black baby, Ven conmigo a Bejucal, Come with me to Bejucal, A comerte una ajiaquito To eat a beef stew with hot peppers Que yo voy a cocinar. That I’ll cook for you.

—Y depués del ajiaquito —And after the stew Coco en dulce y cusubè, Candied coconut and yucca, Platanito verde frito, Fried green plantains, Vino, pan, y un buen café. Wine, bread, and a good cup of coffee.

Vamos a comer, vamos a comer, Let’s eat—let’s eat— Un fufú con carne de puerco frito A “fufú” with plantains and fried pork Y laguer “ber.” And wash it down with beer. Te voy a llevar, I’m going to take you away, Te voy a llevar, I’m going to take you away, A orillitas del Almendares china To the shores of the Almendares, girl, Pa’lmorzar. For a little lunch.

She’s got rumba on her hips And Bacardi on her lips But her foot it never slips Cuban to her fingertips.

Take Garbo to dine with you And Joan Crawford, bring her too Long before the day is through You’ll be telephoning….who?

Oh that Cuban belle Oh that Cuban belle From the moment I saw those languid eyes I fell, fell, fell,

And I’m here to tell Oh that Cuban Belle When she starts in to sway all I can say is Well, well, well.

English Adaptation: Marion Sunshine

21 About the Artists

Mary Birnbaum

Last summer, Mary Birnbaum’s new production of La Bohème opened the season at the Santa Fe Opera as the first new female-led production there since 1997. Birnbaum’s passion for interdisciplinary art paired with her theater training has informed the variety of projects she has undertaken. Her work in opera includes works by composers from Purcell and Mozart to world premieres by Rene Orth/Hannah Moscovich and Kristen Kuster/Megan Levad. She has built new productions for Montclair Peak Performances, Juilliard, Opera Philadelphia, Château de Versailles, Teatro Naçional in Costa Rica, Compañia Lirica in Guatemala, National Symphony Orchestra in Taiwan, Oregon Symphony, Pacific Coast Symphony, Virginia Arts Festival, Ojai Festival, IVAI in Tel Aviv, Lyric Opera of Kansas City, Opera Kentucky, Opera Columbus, CalPerformances Berkeley, Boston Baroque, New World Symphony, and Bard Summerscape.

Steven Blier

Steven Blier is the artistic director and cofounder of the New York Festival of Song (NYFOS). As an accompanist and vocal coach, he has partnered with Renée Fleming, Cecilia Bartoli, Lorraine Hunt Lieberson, and Susan Graham. Many of his former students, including Paul Appleby, Sasha Cooke, and Julia Bullock, have gone on to be sought-after recitalists. A faculty member at Juilliard since 1992, Blier also mentors young singers at summer opera programs including Wolf Trap Opera, San Francisco Opera, and the Ravinia Festival’s Steans Music Institute. His discography includes the Grammy-winning recording of Leonard Bernstein’s Arias and Barcarolles (Koch International); his latest is Canción amorosa (GPR) with soprano Corinne Winters. Blier received a 2014 Musical America Professionals of the Year award and Classical Singer’s first coach of the year award, in 2006

Ian Matthew Castro

Tenor Ian Matthew Castro is a first-year master’s student from northern New Jersey studying under the guidance of Edith Wiens. He received his bachelor’s degree in vocal performance from Montclair State University. Boasting an extensive performance background, Castro has made recent appearances in Light Opera of New Jersey's production of Così fan • Jerome L. Greene tutte as Ferrando, Music Academy International’s production of Alcina Fellowship as Oronte, and Montclair State University’s The Rape of Lucretia as the Male Chorus. Castro has been recognized by Montclair States’ Benjamin Wilkes Scholarship and the College of the Arts Advisory Board. He has also placed first in the National Association of Teachers of Singing New York Division Competition. He has worked with programs such as Internationale Meistersinger Akademie, Lingua e Canto, and Respiro, NYC.

Adam Cates

Adam Cates is pleased to return to Juilliard having previously choreographed The Magic Flute, The Rape of Lucretia, Eugene Onegin, and two NYFOS at Juilliard concerts. This past season, he choreographed La Bohème for the Santa Fe Opera, Jeeves and Wooster in Perfect Nonsense for Hartford Stage, and The Little Mermaid for Pacific Conservatory Theatre. Other regional credits include Arkansas Rep, Bard Music Festival, TUTS, Theatre Aspen, Gulfshore Playhouse, Anchorage Opera, Memphis Playhouse on the Square, Music Theatre Wichita, and others. Cates co-wrote the book for The World According to Snoopy, now licensed by Tams-Witmark/Concord. He was the associate choreographer for A Gentleman’s Guide to Love and Murder and Anastasia on Broadway. This season, he will direct A Gentleman’s Guide… for Drayton Entertainment in Canada and Mamma Mia for Minnesota State University. Cates is on the faculty of Pace University.

Shawn Chang

Taiwanese-Canadian musician Shawn Chang is pursuing a Master of Music degree in collaborative piano at Juilliard under the tutelage of Lydia Brown. As a solo pianist, Chang has given recitals in the U.S. and Canada as well as in Taipei, Taiwan, where he was born, including Weill Recital Hall and the Taipei National Music Hall. Last October, Chang was a soloist with the Orchestra of the Bronx in a performance • Juilliard of Beethoven’s “Emperor” Concerto. As a collaborative pianist, he has Scholarship worked for opera companies such as the Bronx Opera, Garden State Opera, and OperaRox. Chang’s compositions have been premiered by such ensembles as the Chromatic Voice Exchange, Schola Sine Nomine choruses, and aTonal Hits Duo.

Olivia Cosío

Originally from San Francisco, mezzo-soprano Olivia Cosío is pursuing a master’s degree at Juilliard, where she studies with Elizabeth Bishop. This season, she performs Rosina in Opera Columbus' production of The Barber of Seville and will spend the summer with Opera Theatre of St. Louis as a Gerdine Young Artist, performing Mercedes in Carmen and Ms. Kohl in the world premiere of Tobias Picker’s Awakenings. • Constance Gleason Passionate about art song, Cosío recently performed with NYFOS@ Furcolo Scholarship • Ben Holt Memorial North Fork, the group’s summer residency on Long Island, and Scholarship completed two summer vocal fellowships at the Tanglewood Music • Anna Case Mackay Center, where she performed Bach cantatas conducted by John Scholarship Harbison, the role of Susie in Bernstein’s A Quiet Place, and two world premieres in Seiji Ozawa Hall. Cosío holds a bachelor of music degree from the Oberlin Conservatory. 23 About the Artists (continued)

Leonardo Granados

Leonardo Granados was born in San Cristóbal in the Venezuelan Andes and studied music at the Pedro Antonio Ríos Reina School of Music founded by his father. Granados is known for his expertise as a bolero and tango singer as well as a longtime player and connoisseur of the Venezuelan maracas. His latest recording, Live at Tokyo Opera House (Sony Japan), with Amelita Baltar and Ryota Komatsu, interprets the tango operita by Astor Piazzolla, Maria de Buenos Aires. He has performed with artists such as Simón Diaz, Paquito D'Rivera, Janis Siegel, Marco Granados, Pablo Zinger, Edward Simon, Soledad Bravo, Steven Blier, Martin Rojas, Michael Barrett, Luisito Quintero, and Carlos Capacho. Granados is also a political activist and a music producer, dedicated to crafting and curating musical events to help palliate and create awareness of the deepest humanitarian crisis in the modern history of the Americas with its epicenter in Venezuela, and of the five million displaced Venezuelan citizens suffering the scars of forced migration.

Chea Young Kang

Soprano Chea Young Kang from Deokso, South Korea, is a third-year undergraduate at Juilliard in the studio of Marlena Malas. Kang, who has studied voice since she was 12, studied with soprano Young Mi Kim for four years in Korea. She entered Sunhwa Arts Middle and High School at the top of the department and later attended Interlochen Arts Academy in Michigan. She was the finalist in the 2016 YoungArts Competition and participated in the 2016 YoungArts week in Miami. She was also featured in an Interlochen Arts Academy Orchestra Concert in 2017 after winning the Interlochen’s Concerto Competition. Last summer she participated in the Chautauqua Institution.

Aaron Keeney

Baritone Aaron Keeney is a second-year master’s student at Juilliard, where he studies with Robert C. White Jr. Recently he performed Mahler’s Lieder eines fahrenden Gesellen with the Juilliard Lab Orchestra, covered Leporello in Juilliard’s production of Don Giovanni, and toured with Apollo’s Fire in its Christmas on Sugarloaf Mountain concert series. This past summer, Keeney covered Schaunard in La • Leonie Rysanek Bohème at Des Moines Metro Opera. Recent awards include an and Lisa Della Casa Scholarship encouragement award from the Gerda Lissner Foundation as well as • Salvatore T. Chiantia the Nelson Eddy Scholarship. Favorite past roles include Guglielmo in Scholarship in Voice Così fan tutte, Belcore in L’elisir d’amore, and both Count Almaviva and • Philo Higley Figaro in Le nozze di Figaro. On the concert stage, he has been a soloist Scholarship in Bach’s Mass in B Minor, Handel’s Messiah, and Mozart’s Requiem.

Kyle Miller

Originally from San Francisco, baritone Kyle Miller is pursuing a master of music degree at Juilliard, studying with Robert C. White Jr. Miller recently performed at Carnegie Hall as the baritone soloist in Stravinsky’s Les Noces and at Alice Tully Hall in Stravinsky’s Pribaoutki. His prior operatic roles include Demetrius in A Midsummer Night’s Dream and Moralès in Carmen with the Chautauqua Institution as well as Marquis • Toulmin Foundation de la Force in Dialogues des Carmélites, Conte Almaviva in Le nozze Scholarship di Figaro, and Vincenzo Biscroma in Donizetti’s Viva la Mamma! at the Oberlin Conservatory of Music, where he received his bachelor’s degree. This season, he will sing the role of Chris the Citizen in the Juilliard co- production of The Mother of Us All at the Metropolitan Museum of Art with the New York Philharmonic as well as Customhouse Sergeant in La bohème, in addition to covering the role of Marcello, at Juilliard.

César Andrés Parreño

A native of Guayaquil, Ecuador, tenor César Andrés Parreño is now a third-year undergrad at Juilliard under the tutelage of Robert C. White Jr. Parreño started his voice studies with Ecuador's most renowned opera singer, Beatriz Parra. He was awarded first place in the International Classical Music Competition: Young Talents in Cuenca, Ecuador, and was also a soloist with the University of Cuenca Orchestra and with Guayaquil’s Symphonic Orchestra. Parreño was invited to the first and second international classical singing festival, Ciudad Santiago de Guayaquil. Last summer, Parreño sang Lysander in A Midsummer Night’s Dream at the Chautauqua Institution. This spring, Parreño will perform the role of Parpignol in Juilliard Opera’s production of Puccini’s La bohème.

25 About the Artists (continued)

Santiago Pizarro

Peruvian tenor Santiago Pizarro is a master's student at Juilliard, where he studies with William Burden. While at Juilliard, Pizarro has commissioned four works by student composers. He is the first-prize winner of the 2017 National Classical Singing Competition of Radio Filarmonía in his native Lima. He has performed the roles of Lysander • Robert White in A Midsummer Night’s Dream, Nerone in L’incoronazione di Poppea, Scholarship in and Guglielmo in Viva la Mamma. Last summer, Pizarro toured with the Vocal Arts • Anna Case Mackay Juilliard Opera’s production of Purcell’s Dido and Aeneas, performing at Scholarship Opera Holland Park in London and L’opéra Royal in Versailles. He has worked with several internationally renowned opera singers, including Marilyn Horne, Juan Diego Flórez, and Luigi Alva. He earned his bachelor’s degree at the Oberlin Conservatory.

Jaylyn Simmons

Jaylyn Simmons, from Baltimore, is an undergraduate soprano at Juilliard studying with Amy Burton. Simmons was a soloist in Orff’s Carmina Burana and has performed with conductor/composer John Williams and the Boston Pops. She was a featured soloist at the Kennedy Center and has been in the cast of Hairspray as Little Inez with the Baltimore • Pauline and Symphony Orchestra at the Strathmore. She attended CLA France, Arthur Feibush where she gave eight concerts and participated in a master class with Scholarship • Philo Higley conductor Gaspard Brecourt and tenor Stéphane Sénéchal. Last year at Scholarship Juilliard, she performed in NYFOS’ Kurt Weill’s Berlin and a showcase • New York performance of The Turn of the Screw as Miles. In May 2020 Simmons Community Trust/ will sing her first professional engagement, as Flora for Illuminarts’ Anna Scheon-Rene Fund production of The Turn of the Screw in Miami.

26 New York Festival of Song

Now celebrating its 32nd season, New York Festival of Song (NYFOS) is dedicated to creating intimate song concerts of great beauty and originality. Weaving music, poetry, history, and humor into evenings of compelling theater, NYFOS fosters community among artists and audiences. Founded by pianists Michael Barrett and Steven Blier in 1988, NYFOS continues to produce NYFOS Mainstage, its flagship series of thematic song programs, drawing together rarely-heard songs of all kinds, overriding traditional distinctions between classical and popular performance genres, and exploring the character and language of other cultures. In 2010 NYFOS launched NYFOS Next, a concert series for new songs, hosted by guest composers in intimate venues. With an emphasis on spontaneity, novelty, and collaboration, NYFOS Next offers today’s song composers a forum to create a program of their work alongside that of their peers, students, and mentors. NYFOS is also passionate about nurturing the artistry and careers of young artists and through its NYFOS Emerging Artists program has developed professional training residencies around the country. These intensive programs train young artists in programming and translation, presentation and production, and research and musical style. NYFOS’ concert series, touring programs, radio broadcasts, recordings, and educational activities continue to spark new interest in the creative possibilities of the song program and have inspired the creation of thematic vocal series around the world.

27 Ellen and James S. Marcus Institute for Vocal Arts

One of America’s most prestigious programs for educating singers, Juilliard’s Ellen and James S. Marcus Institute for Vocal Arts offers young artists programs tailored to their talents and needs. From bachelor and master of music degrees to an advanced Artist Diploma in Opera Studies, Juilliard provides frequent performance opportunities featuring singers in its own recital halls, on Lincoln Center’s stages, and around New York City. Juilliard Opera has presented numerous premieres of new operas as well as works from the standard repertoire.

Juilliard graduates may be heard in opera houses and concert halls throughout the world; diverse alumni artists include well-known performers such as Leontyne Price, Renée Fleming, Risë Stevens, Tatiana Troyanos, Simon Estes, and Shirley Verrett. Recent alumni include Isabel Leonard, Susanna Phillips, Paul Appleby, Erin Morley, Sasha Cooke, and Julia Bullock.

Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic Director Kirstin Ek, Director, Curriculum and Schedules Emily Wells, Associate Director Andrew Gaines, Production Administrator Davis Dykes, Projects Administrator, Performance Activities Po Chan, Projects Administrator, Curriculum Kiara Walker, Schedule and Program Coordinator Alexandra Cohen, Vocal Arts Administrative Apprentice

Voice Faculty

Edith Wiens, Chair William Burden Marlena K. Malas Darrell Babidge Amy Burton Robert C. White Jr. Elizabeth Bishop Cynthia Hoffmann

Ellen and James S. Marcus Institute for Vocal Arts Faculty

Stefano Baldasseroni Kathryn LaBouff Lauren Schiff Marianne Barrett Gina Levinson Eve Shapiro, Dramatic Advisor Edward Berkeley Kenneth Merrill for Artist Diploma in Opera Mary Birnbaum, Associate David Moody, Chorus Master Studies Director of Artist Diploma in Glenn Morton Jeanne Slater Opera Studies Nils Neubert Avi Stein Steven Blier Adam Nielsen, Music Cameron Stowe Corradina Caporello Advisor for Master of Music Stephen Wadsworth, James Robert Cowart and Graduate Diploma S. Marcus Faculty Fellow, Alexandra Day Donald Palumbo Director of Artist Diploma in Karen Delavan, Music David Paul, Dramatic Advisor Opera Studies Advisor for Master of Music for Master of Music and Howard Watkins and Graduate Diploma Graduate Diploma Gary Thor Wedow Cori Ellison J.J. Penna Robert White John Giampietro Diane Richardson, Principal Reed Woodhouse, Music Bénédicte Jourdois Coach and Music Advisor for Advisor for Master of Music Natalia Katyukova Artist Diploma in Opera and Graduate Diploma Studies Brian Zeger, Artistic Director

2019-2020 Ellen and James S. Marcus Institute for Vocal Arts Fellows

Jeremy Chan, Piano Nathaniel LaNasa, Piano Lisenka Heijboer, Opera Directing

29 Juilliard Annual Supporters

The Juilliard School is deeply grateful to the following individuals, foundations, and corporations for their annual gifts in support of Juilliard’s multifaceted performances, educational activities, and scholarships.

Over $1 million Nancy A. Marks Schuld Family Fund Bruce and Suzie Kovner Joyce F. Menschel Jeremy Smith Stephanie and Carter McClelland/ Phyllis Rosenthal Bradley Whitford The Stephanie and Carter Anna E. Schoen-René Fund at Cecil M. Yarbrough and McClelland Foundation The New York Community Trust Ronald S. Csuha Katheryn C. Patterson and The Shubert Foundation, Inc. Anonymous (4) Thomas L. Kempner Jr. Bruce B. Solnick, Ph.D. Anonymous Steinway & Sons $10,000–$14,999 Helen V. Vera and Kent A. Clark American Turkish Society $500,000–$999,999 Anonymous (2) Michelle and Jonathan Auerbach Jody and John Arnhold Elaine S. Bernstein International Foundation $25,000–$49,999 Ms. Diana Bersohn for Arts and Culture Akin, Gump, Strauss, Florence and Paul DeRosa Ellen Marcus Hauer & Feld; LLP Memorial Fund Michael E. Marks Arnhold Foundation, Inc. Dr. Lee MacCormick Edwards Family Foundation Irving Berlin Charitable Fund Charitable Foundation Mary L. Bianco Mr. and Mrs. Jonathan File $250,000–$499,999 Heidi Castleman Klein Sidney E. Frank Foundation Susan and Elihu Rose Foundation Crankstart Foundation Candice and John Frawley Ford Foundation Susanne D. Ellis Jennifer and Bud Gruenberg Max H. Gluck Foundation Joan and Peter Faber Younghee Michelle Kim-Wait Lincoln Center Corporate Fund Barbara G. Fleischman Mitzi Koo Deborah J. Simon The Horace W. Goldsmith Dominique and Frédéric Laffont The Virginia B. Toulmin Foundation Foundation Yaru Liu LCU Fund for Women’s Education Alan and Laura Mantell $100,000–$249,999 Edward F. Limato Foundation Harold W. McGraw Jr. Julie Choi and Claudio Cornali Laura Linney and Marc Schauer Family Foundation Mary L. Graham The Moca Foundation Terry Morgenthaler and Jerome L. Greene Foundation The Ambrose Monell Foundation Patrick Kerins Joan W. Harris/The Irving Harris Enid and Lester Morse Leslie and Mitchell Nelson Foundation Raymond-Cryder Designated Fund Omomuki Foundation Matt Jacobson and of the Lehigh Valley Community Andres Mata Osorio Kristopher L. Dukes Foundation Howard S. Paley ‡ Beth and Christopher Kojima Eun Jung Roh and Michael A. Peterson Marjorie and Michael Loeb Keun-Chang Yoon John R. Philpit Vincent and Anne Mai Thomas Schumacher and Joseph S. Piropato and Yoshiko and Greg Margolies Matthew White Paul Michaud Christina McInerney Mark Shuman Pre-College Parents’ Association Stephen Novick Barbara J. Slifka of The Juilliard School Jeffrey Seller and Joshua Lehrer The George L. Shields Foundation The Presser Foundation Sarah Billinghurst Solomon and Sydney Weinberg Grace Richardson Howard Solomon Anonymous (5) Hartley Rogers and Amy Falls Yael Taqqu and Jeremy Levine Yukari Saegusa Anonymous $15,000–$24,999 Roger Sant Edwin L. Artzt Alexander I. Tachmes $50,000–$99,999 Laurel and Clifford Asness Marjorie Tallman Educational Herbert A. Allen Barbara and Gary Brandt Foundation The Augustine Foundation Allen R. and Judy Brick Freedman Robert and Jane Toll Norman S. Benzaquen Nancy and Bruce Hall LoRaine Kent Vichey Dan J. Epstein Brian and Darlene Heidtke Memorial Trust and the Dan J. Epstein Dr. Elliot Gross and Anita and Thomas Volpe Family Foundation Dr. Alice Helpern Sedgwick A. Ward The Fan Fox and Gordon D. Henderson John J. Yarmick Leslie R. Samuels Foundation The Katzenberger Foundation, Inc. Lucille and Jack Yellen Foundation Edythe Gladstein Dominique Lahaussois and Judy Francis Zankel Keith and Barbara Gollust David Low Anonymous (5) Constance Goulandris Foundation Mr. and Mrs. Jean-Hugues Judith McDonough Kaminski J. Monier $7,500–$9,999 Karen and Paul Levy Evelyn and John Popp Arlene ‡ and Edmund Grossman Mr. and Mrs. Robert D. Lindsay Dr. Gary Portadin Bernard Holtzman Princess Grace Foundation–USA Mrs. Susan L. Robinson McKinsey & Company, Inc.

30 Juilliard Annual Supporters (Continued)

Elizabeth J. Misek Susan Seo and Dennis Friedman Peter Lane Gillian Sorensen Annaliese Soros Jay H. Lefkowitch, M.D. Barbara and Donald Tober Michael and Claudia Spies Mrs. John M. Lewis Kara Unterberg Alec P. Stais and Elissa Burke Christopher and Beth Lyon Anonymous Kristine Jarvi Tyler Robert and Bridget Lyons Georgeann Delli Venneri Wynton Marsalis $5,000–$7,499 Nathaniel Wertheimer and Rodney McDaniel Lorraine A. Abraham Taya Schmid Stephen A. Meyers and Marsha Walter and Marsha Arnheim Andrew P. Willoughby Hymowitz-Meyers Janet E. Baumgartner Stanley P. Wilson Paula Paster Michtom Casey Bayles and William Jeffrey Anonymous (4) Tim B. Nelson and Marshall S. Berland and Lisa M. Benavides-Nelson John E. Johnson $2,500–$4,999 Stanley Newman and Anne Louise and Matthew Bostock Nadine Asin and Dr. Brian Rosenthal Lichung Chen Thomas van Straaten Stuart Owens Suzanne Cogan Emanuel and Yoko Ax Dr. Steve and Rochelle Prystowsky Betsy L. Cohn Philip A. Biondo Linda Ray Dana Foundation Lucienne and Claude Bloch, M.D. Catherine G. Roberts Dudley and Michael Del Balso BMW of North America, LLC Janet and Howard Rose Barbaralee Diamonstein-Spielvogel Mr. Robert Brenner Diane Kelly Ryan J. Christopher and Violet Eagan Trudy and Julius Brown Nancy Schloss Edythe Fishbach Elaine J. Budin Miriam K. Schneider Jocelyn and W. E. Gallinek Steven C. Calicchio Foundation Geraldine L. Sedlar and The Harkness Foundation Captiva Foundation Richard Miners for Dance Kathryn G. Charles Sandra Semel Dr. Daniel E. Haspert Beverly and Herbert Chase The Maurice Sendak Foundation Katherine L. Hufnagel Mr. Kenneth H. Chase Brandon Sherr Japanese Chamber of Commerce Nancy Cohn Douglas Sills and Industry of New York Theodore Cohn Dr. Steven P. Singer and Frances Kazan Anne and Stephen Cunningham Dr. Alan Salzman Mrs. William M. Lese Isabel Cunningham Judith and F. Randall Smith Helen Little John R. Doss Dr. Karen P. Smith The Frederick Loewe Foundation Robert & Mercedes Eichholz Jeffrey R. Solomon Nancy Long, Ph.D. and Foundation Mark Snow Marc Waldor Marilyn and Steven Emanuel Marjorie and Michael Stern Mr. Jerome N. Lowenthal Michael J. Fabrikant ‡ and Mr. and Mrs. John Stravinsky Mr. and Mrs. Peter L. Malkin C. Dallos Elise C. Tepper Mr. Edward J. Maloney Eric J. Friedman Dr. Daniel M. Thys and Lane Merrifield Jeffrey and Helen Friedman Dr. Susan Thys-Jacobs John Michalski Kenneth Greenstein Anthony and Elaine Viola Michael R. Osver Lynda and Paul Gunther Rui Wang The Laura Pels International Barbara Hendricks Ms. Johanna Weber Foundation for Theater HighBrook Investors Michael Weinstein Judy and Jim Pohlman David B. Hunt and Susan M. Whelan Edith Polvay-Kallas Patricia Heaton-Hunt Rebecca Wui and Raymond Ko Sabine Renard Judy and Lindley Hoffman Anonymous (4) Mary G. Roebling Musical Juilliard Alumni Association Scholarship Fund, Inc. of Japan Ida & William Rosenthal Elma and Howard ‡ Kanefield Foundation Robert O. Kenet ‡ = In Memoriam Pamela and Richard Rubinstein Barbara and Paul Krieger As of August 19, 2019

Please consider making an investment in the future of dance, drama, and music today and help The Juilliard School remain at the forefront of performing arts education. For more information or to make a gift, please contact the Development Office at (212) 799-5000, ext. 278, or [email protected].

31 Juilliard Board of Trustees and Administration

BOARD OF TRUSTEES Jazz Wynton Marsalis, Director of Juilliard Jazz Bruce Kovner, Chair Aaron Flagg, Chair and Associate Director J. Christopher Kojima, Vice Chair Katheryn C. Patterson, Vice Chair Ellen and James S. Marcus Institute for Vocal Arts Julie Anne Choi Greg Margolies Brian Zeger, Artistic Director Kent A. Clark Nancy A. Marks Kirstin Ek, Director of Curriculum and Schedules Barbara G. Fleischman Stephanie Palmer McClelland Mary Graham Christina McInerney Lila Acheson Wallace Library and Doctoral Fellows Program Joan W. Harris Lester S. Morse Jr. Jane Gottlieb, Vice President for Library and Information Resources; Matt Jacobson Stephen A. Novick Director of the C.V. Starr Doctoral Fellows Program Edward E. Johnson Jr. Susan W. Rose Jeni Dahmus Farah, Director, Archives Philippe Khuong-Huu Jeffrey Seller Alan Klein, Director of Library Technical Services Nancy Walton Laurie Deborah Simon Karen M. Levy Sarah Billinghurst Solomon Preparatory Division Teresa E. Lindsay William E. "Wes" Stricker, MD Weston Sprott, Dean Laura Linney Yael Taqqu Yoheved Kaplinsky, Artistic Director, Pre-College Michael Loeb Reginald Van Lee Anthony McGill, Artistic Director, Music Advancement Program Vincent A. Mai Damian Woetzel Rebecca Reuter, Administrative Director, Music Advancement Ellen Marcus Camille Zamora Program Ekaterina Lawson, Director of Admissions and Academic Affairs, Pre-College TRUSTEES EMERITI Anna Royzman, Director of Performance Activities, Pre-College June Noble Larkin, Chair Emerita Enrollment Management and Student Development Mary Ellin Barrett Sidney R. Knafel Joan D. Warren, Vice President Kenneth S. Davidson Elizabeth McCormack Barrett Hipes, Dean of Student Development Keith R. Gollust Cory Owen, Associate Dean of Student Development Kathleen Tesar, Associate Dean for Enrollment Management Joseph W. Polisi, President Emeritus Sabrina Tanbara, Assistant Dean of Student Affairs William Buse, Director of Counseling Services JUILLIARD COUNCIL Rachel Christensen, Administrative Director, Alan D. Marks Center for Career Services and Entrepreneurship Mitchell Nelson, Chair Katherine Gertson, Registrar Michelle Demus Auerbach Jean-Hughes Monier Tina Gonzalez, Director of Financial Aid Barbara Brandt Terry Morgenthaler Teresa McKinney, Director of Community Engagement Brian J. Heidtke John G. Popp Camille Pajor, Title IX Coordinator Gordon D. Henderson Grace E. Richardson Todd Porter, Director of Residence Life Peter L. Kend Jeremy T. Smith Howard Rosenberg MD, Medical Director Younghee Kim-Wait Alexander I. Tachmes Dan Stokes, Director of Academic Support and Disability Services Sophie Laffont Anita Volpe Beth Techow, Administrative Director of Health and Counseling Services

EXECUTIVE OFFICERS Development AND SENIOR ADMINISTRATION Alexandra Wheeler, Vice President and Chief Advancement Officer Katie Murtha, Director of Major Gifts Damian Woetzel, President Lori Padua, Director of Planned Giving Rebecca Vaccarelli, Director of Alumni Relations Office of the President Kim Furano, Director of Foundation and Corporate Relations Jacqueline Schmidt, Vice President and Chief of Staff Robyn Calmann, Director of Special Events Ciaran Escoffery, Deputy Chief of Staff Toniya Katsarov, Director of Development Operations Kathryn Kozlark, Artistic Producer and Director for Creative Enterprise Public Affairs Christina Salgado, Director for Equity, Diversity, Inclusion, Rosalie Contreras, Vice President of Public Affairs and Belonging Initiatives Maggie Berndt, Communications Director Benedict Campbell, Website Director Office of the Provost and Dean Jessica Epps, Marketing Director Ara Guzelimian, Provost and Dean Susan Jackson, Editorial Director José García-León, Dean of Academic Affairs and Assessment John-Morgan Bush, Director of Lifelong Learning Office of the Chief Operating Officer and Corporate Secretary Lesley Rosenthal, Chief Operating Officer and Corporate Secretary Dance Division Christine Todd, Vice President and CFO Alicia Graf Mack, Director Cameron Christensen, Associate Vice President, Facilities Katie Friis, Administrative Director Management Mario Zambrano, Associate Director Kent McKay, Associate Vice President for Production Richard Mannoia, Interim Managing Director of Global K-12 Programs Drama Division Michael Kerstan, Controller Evan Yionoulis, Richard Rodgers Director Irina Shteyn, Director of Financial Planning and Analysis Richard Feldman, Associate Director Nicholas Mazzurco, Director of Student Accounts/Bursar Katherine Hood, Managing Director Nicholas Saunders, Director of Concert Operations Tina Matin, Director of Merchandising Music Division Kevin Boutote, Director of Recording and Classroom Technology Adam Meyer, Director, Music Division, and Deputy Dean of the College Administration and Law Bärli Nugent, Assistant Dean, Director of Chamber Music Maurice F. Edelson, Vice President for Administration and Joseph Soucy, Assistant Dean for Orchestral Studies General Counsel Mario Igrec, Chief Piano Technician Carl Young, Chief Information Officer Joanna K. Trebelhorn, Director of Orchestral and Ensemble Steve Doty, Chief Technology Officer Operations Dmitriy Aminov, Director of IT Engineering Clara Perdiz, Director of Client Services, IT Historical Performance Jeremy Pinquist, Director of Enterprise Applications Robert Mealy, Director Katie Germana, Director of Human Resources Benjamin D. Sosland, Administrative Director; Assistant Dean Adam Gagan, Director of Security for the Kovner Fellowships Jennifer Wilcox, Director of Apprentice Program Members Get More Get Members Join today! Join (212) 769-7409 (212) Or visit the Juilliard the office box visit Or our remarkable artists. remarkable our months while supporting exclusive benefits for 12 experience and enjoy Juilliard your Enhance juilliard.edu/membership

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